William Has Amnesia

Newly married diplomat David Talbot (William Powell) is celebrating his three-month anniversary with his wife, Lucienne (Hedy Lamarr) when he receives a message, addressing him as Jean, and informing him that he needs to repay a million franc debt by tossing the money over a fence near a deserted farmhouse. Talbot decides to do so, but after advising the police that he is being blackmailed. At the trial, the accused claims that Talbot - who lost his memory after nearly dying in a train accident - is in actuality Jean Pelletier, a thief.  Our film is Crossroads (1942), and is posted to celebrate William Powell's day on Summer Under the Stars.

It's always a pleasure to see a William Powell film, and this one is no exception. He brings gravitas to any part he plays, and ably fits the bill of a diplomat.  Mr. Powell had played amnesia for laughs in I Love You Again (1940). Here, he brings sympathy to this man who has had to reconstruct his entire life following his near death accident. His relationship with Ms. Lamarr as his stalwart wife is convincing (though, as we'll discuss later, she is severely underutilized). He also is able to make the audience wonder throughout the film how much truth there is in the accusations leveled by his nemesis, Henri Sarrou. 

It's a shame Hedy Lamarr has such a small amount of screen time. Her early scenes with Mr. Powell bring some humor to an otherwise serious film, and the conclusion of the film uses her to good effect. She would later work with him in The Heavenly Body (1944). Certainly, she does not have the chemistry with him that he had with actresses like Myrna Loy, but we believe in their romance.

Marlene Dietrich was offered the role of Michele Allaine, but turned it down (TCM article); regardless, Claire Trevor is convincing as David's alleged former lover, and really a better fit for the role. Ms. Trevor keeps the viewer wondering - especially interesting is a scene in which a locket with a surprising photograph is dangled before the eyes of David's wife - just enough out of range that she cannot see it, but close enough to cause David - and the audience - concern. It's Ms. Trevor's adept handling of the scene that makes the audience hold their breath as the action proceeds.

When you have Basil Rathbone (Henri Sarrou) in the cast, you know you are in for a good time. Sure, it's hard to believe in the early scenes that he really is David's rescuer (of course, we are right - he is not), but wow, he is suave and scary as the head of the blackmail ring.  It is because of the interplay between Mr. Rathbone and Mr. Powell that you are never quite sure who to believe.  They verbally duel, and they make it easy to believe the one or both is hiding more than they are revealing.

Margaret Wycherly  (Mme. Pelletier) is excellent as an old lady, allegedly the mother of Jean Pelletier. Ms. Wycherly is a character actor who can turn on a dime - she can go from the sweet little old lady to the she-devil in the blink of an eye. She's probably best noted for her performance as Cody Jarrett's Ma in White Heat (1949).

Two other actors of note in the film are Felix Bressart as Dr. Andre Tessier and Sig Ruman as his nemesis in court,  Dr. Alex Dubroc. Their scenes together are well done, and Mr. Bressart is enjoyable as David's doctor, friend, and supporter. 

Crossroads was based on the screenplay for a 1938 French film, Carrefour, and had several working titles during production: The Man Who Lost His Way , 'Til You Return and The Man from Martinique (AFI catalog). The New York Times review by Theodore Strauss (T.S.) was not enthusiastic - except for Mr. Powell, calling him "particularly, flawlessly urbane and crisp...an actor whose talent for under-statement is perfectly adapted for a melodrama of this genre." The story was reprized with a Lux Radio Theatre broadcast in March of 1943, with Lana Turner and Jean Pierre Aumont in the lead roles. 

We enjoyed the film greatly, and recommend it for your viewing pleasure. In the meantime, here is a trailer: 

Norma Enters Society

Socialite Fay Cheyney (Norma Shearer) is hosting a charity event, during which both Lord Elton (Herbert Bunston) and Lord Arthur DIlling (Basil Rathbone) vie for her attentions. At the end of the evening, she is invited to the home of Mrs. Webley (Maude Turner Gordon), and eagerly accepts the invitation. Lord Dilling however, is puzzled. He thinks he remembers Mrs. Cheyney's butler, Charles (George Barraud), but NOT as a butler. Our film this week is the first version of The Last of Mrs. Cheyney (1929).

This is our contribution to the O Canada Blogathon, hosted by Ruth of Silver Screenings  and Kristina of Speakeasy.

It's always enjoyable to go back to the beginnings of sound films and see what the introduction of the voice did to the movies. In this case (as with many other movies of the time), MGM selected a reasonably successful play and made it into a movie. If you are more familiar with films from the mid-1930s forward, you will discover it is not what you are used to - it is very conversational, and at times static. The actors are clearly not able to move around very much (given the limitations of the microphone), but with two outstanding performances, it was a movie we all enjoyed.

This was Norma Shearer's second sound film (TCM article), and she seems comfortable with the new medium. She'd had good success in silent movies; with a pleasant speaking voice, and her delightful, sparkling laugh, she makes the transition to talkies seem almost easy. It helps that, in this film, she has someone to bounce off - Basil Rathbone, who is engaging as Fay's hopeful suitor. The story was originally purchased for the actress Florence Vidor (AFI Catalog), but that production never came about. 

Born in Montreal, Ms. Shearer tried to begin with a career on Broadway, but was turned down by Florenz Ziegfeld as not being pretty enough (Complicated Women: Sex and Power in Pre-Code Hollywood by Mick LaSalle).  She later got some revenge when she refused to star in The Great Ziegfeld (Stardust and Shadows: Canadians in Early Hollywood by Charles Foster). Extra work in films followed, though many thought her (again) not pretty enough for pictures (Canadian Heroines 2-Book Bundle: 100 Canadian Heroines / 100 More Canadian Heroines by Merna Forster).  A small role in The Stealers (1921) resulted in a contract with what would become MGM; by 1925, she was getting star billing, which she retained until her retirement in 1942. Though some tried to attribute her success to her happy, albeit short, marriage to Irving Thalberg, even he was not always right about her career. When he dismissed her request to play the lead in what would become The Divorcee (1930) with "you're not glamorous enough," she sent him sultry pictures (by George Hurrell) that proved her glamour (and gave her an Oscar to boot) (Made For Each Other: Fashion and the Academy Awards by Bronwyn Cosgrave). She would receive five more Oscar nominations. She lived quietly in retirement, eventually remarrying. She died in 1983 at the age of 81.

While Ms. Shearer started her career in films, Basil Rathbone began on the London and New York stages. He began working in 1911 and returned to the stage after serving in the London Scottish Regiment (along with Claude Rains, Herbert Marshall, and Ronald Colman) during the first World War. It was during the war he became the Army Fencing Champ, a skill that would serve him well in many of his films (though sadly, he always seemed to lose on film!). He did a few silent films, but (like his friend Ronald Colman), he had a voice made for the movies, and it serves him well in our film, as does his stage presence. One scene in particular comes to mind. As Lord Arthur enters a room, he is question by another man. Mr. Rathbone moves slowly towards a sofa; he demeanor showing thoughtfulness. He sits, and then, after a brief pause, answer the question. It's a clever bit of acting that gives us more information about the character, while answering to the needs of the hidden microphone. 

While we realized that the character of Lord Elton was important to the plot, as portrayed by Herbert Bunston he becomes a bore after about two scenes.  Mr. Bunston really overdoes it; he's so obviously stupid, one wonders why he keeps getting invited to dinner parties. Sure, he's rich, but he hasn't got a brain in his head! In contrast to Mr. Rathbone, his character becomes even more idiotic. Every time he opens his mouth, you want the floor to open up and swallow him.

Hedda Hopper (Lady Maria) has a small role as one of the society ladies who frequents the same parties as Fay. She doesn't really have a lot to do, but she is pleasing in the few scenes she is given. Likewise, George Barrault's scenes are infrequent, but pivotal to the action.

The movie is based on a play that opened on London and on Broadway in 1925; the Broadway production starred Ina Claire, Felix Aylmer, Roland Young, and Helen Hayes. We were intrigued that Roland Young (who played Lord Arthur on stage) was NOT involved with the film - he was under contract to MGM as well. 

The Last of Mrs. Cheyney was nominated for a writing award at the first Academy Awards. It got a decent review in the New York Times (Mordaunt Hall didn't like Herbert Bunston either).  It's been filmed three more times, in 1937 under the same title, with Joan Crawford, William Powell, and Robert Montgomery; as The Lady and the Law (1951) with Greer Garson, and in 1961 with Lilli Palmer in a German version. We'll be taking a look at the 1937 version next time we meet.

We'll leave you with the opening scene: 

This post is part of the O Canada Blogathon. Please consider visiting some of the other posts and learning more about our friends to the north.

Ronald Does Dickens

Banker Jarvis Lorry (Claude Gillingwater) meets with Lucie Manette (Elizabeth Allen) to inform her that her father, who she thought was dead, is alive. A prisoner in the Bastille in Paris for over 18 years, Dr. Manette (Henry B. Walthall) has almost lost his mind, but his love for his young daughter helps him to be "recalled to life". On a ship back to England, the Manettes meet Charles Darney (Donald Woods), who is, unbeknownst to them, is the nephew of the man who caused Dr. Manette's imprisonment, the Marquis St. Evremonde (Basil Rathbone).  Our film this week is the David O. Selznick production of Dicken's A Tale of Two Cities (1935).

David O' Selznick became famous for adapting novels for the screen (think Rebecca (1940), Gone With the Wind (1939), David Copperfield (1935), Anna Karenina (1935)). When working on Gone With the Wind, he was quoted as saying "the book is the law, the book is the Bible" (Film Adaptation and Its Discontents: From "Gone with the Wind" to "The Passion of the Christ" by Thomas Leitch), and with one small exception, this is true of A Tale of Two Cities. Based on the novel by Charles Dickens, the story paints a picture of Paris leading up to and during the Terror. 

The one big change from the novel was forced by the casting of Ronald Colman as Sydney Carton.  He is, of course, magnificent in the part; his mellifluous voice provides a perfect ending to the film, as Sydney tells us "It is a far, far better thing I do than I have ever done; it is a far, far better rest that I go to than I have ever known." (it gives me chills very time I hear it). But Mr. Colman was adamant about one thing - he did not want to play both Sydney and Charles Darney. (AFI catalog).  Though Mr. Selznick was later quoted as saying Mr. Colman "had a dread of dual roles", Selznick would convince him two years later to perform in The Prisoner of Zenda as both the King and as Rudolf Rassendyll. Yet, the casting of two different actors works well, and makes Carton's efforts at the end of the story even more poignant.

It is fair to say that this is a film without any false performances. The supporting cast is excellent, featuring some of Hollywood's greatest character actors. Blanche Yurka, as Madame De Farge gives a frightening performance as a woman obsessed with the demise of the aristocracy. Notorious for her knitting skills, Madame is making a blanket with the coats of arms of all the aristos she plans to execute.  My friend noticed that Ms. Yurka was "throwing" her yarn in the English fashion (and in fact, was not really knitting - the needles never moved), which ended in a discussion about when would a knitter in France have knitted Continental style? The answer was in the early 19th Century (A History of Hand Knitting by Richard Rutt), what we now call the continental style was introduced to the rest of Europe from Germany, so it is likely that, in the 1790s, Madame would indeed have thrown her yarn.

Madame is a good companion to Lucille La Verne as The Vengeance, an odious woman, equally maniacal in her desire to murder. Ms. La Verne was at one point in the running to play Madame De Farge, along with Judith Anderson, May Robson, and Emily Fitzroy. Two years later, Ms. La Verne would be the inspiration and voice for the Queen/Witch in Snow White and the Seven Dwarfs. You can hear her doing that insane laugh in this film as well. 

Also outstanding is the always entertaining Edna May Oliver as Miss Pross. A determined lady whose life is devoted to the protection of her "Lady Bird," Lucie and Lucie's family, we know from the start that nothing will prevent Miss Pross from seeing the Manettes home to safety in England.  

Basil Rathbone has a relatively small part - that of the Marquis St. Evremonde. He is so totally despicable that you look forward to his eventual death. The only problem is that you don't get to see him any longer and he is so very good in the part, giving just the right amount of swagger and disregard to a horrible man.

Isabelle Jewell has a small but important part of a Seamstress swept up in the madness of the Terror. We see her once at trial, and then again in prison. She plays it well - though only introduced to the woman, you feel for her, and ultimately admire her courage.  Though director Jack Conway was convinced she would not fit the role, David Selznick disagreed, and insisted on testing her.  All parties were convinced by her test, and Ronald Colman got permission to give her the good news. (TCM article)

Colman portrayed Carton again on two Lux Radio Theatre  broadcasts, on 12 Jan 1942  (with Edna Best) and 18 Mar 1946, (with Heather Angel). Orson Welles took on the role for a 26 Mar 1945 Lux Radio Theatre broadcast. The story has been on film multiple times. There was a silent version in 1917; William Farnum played both Sydney and Charles.  In 1958, Dirk Bogarte appeared as Sydney; and a 1980 television movies featured Chris Sarandon as both Carton and Darnay. Two television  miniseries have also been produced - one in 1980 with Paul Shelley in the double role and a 1989 version with James Wilby as Carton.

The New York Times review by Andre Sennwald called the movie "a prodigally stirring production. . . .for more than two hours it crowds the screen with beauty and excitement. . ." We wholeheartedly agree, and leave you with a trailer:

Aline is Kind

Mary Herries (Aline MacMahon) is a wealthy woman with an impressive art collection, and a desire to live in solitude. She has family and friends who visit occasionally, but is quite happy being on her own. She is also a Kind Lady (1935) and finds it hard to resist helping those in need. When street artist Henry Abbott (Basil Rathbone) appears at her doorstep with a sob story, she invites him in for some hot tea and a sandwich, gives him some money, and a warm coat for his wife. It's not long before Abbott reappears, this time with wife Ada (Justine Chase) in tow, and wheedles his way back into the house. But is he as innocuous as he puts on?

This is a suspenseful yarn that reminded us of the equally chilling My Name is Julia Ross. Both films focus on a strong female lead being preyed upon by strangers - attempting to mold the heroine to their desires.  The story is unsettling - though it's not in any way gory, it's a tale that keeps you on the edge of your seat fearing for the safety of Mary Herries.

With Aline MacMahon heading the cast, you know you can't go wrong. She's playing a woman much older than her years - when the play opened on Broadway in 1935, it starred Grace George as Mary. Ms.George was 56 at the time (Ms.George would also play the part on Broadway in a 1940 revival); Ms. McMahon is 20 years younger when she took the part of a woman we know is well into her 50s. Ms. MacMahon brings a determination to the part that makes the audience root for her. Sure, she is a softie, but she's not a weakling. She stands up to Abbott on multiple occasions, and never stops trying to get out of his clutches. For an excellent biography of Ms. MacMahon, visit this Filmstruck post.

Which brings us to Basil Rathbone, an actor who can make even the most heinous villain appealing. Watching Mr. Rathbone play the part (which on Broadway was performed by Henry Daniell, another able malefactor) is like watching a spider spin his web - you want to run, but you can't take your eyes from him. One scene towards the middle of the film is impressive - The Doctor (Murray Kinnell, playing a character who makes Abbott look like a saint) informs him of an "accident." Rathbone's reaction spells out his disgust at the event and his realization that all their plans have changed, and become far more deadly.

Rose (Ms. Herries maid) as ably portrayed by Nola Luxford, is a woman who has seen her mistress's sympathies go to people she finds undeserving before. Her distrust of Abbott is evident from the moment she meets him, and Ms. Luxford makes her the only one in the house with the nerve to go to Mary with her concerns. When the film was remade in 1951, the part of Rose would go to Doris Lloyd, who plays Mary's sister Lucy Weston in this version (TCM article).

Frank Albertson (Peter Santard) again gets to play the good guy, as Mary's nephew-in-law-to-be (he is about to marry her niece, Phyllis (Mary Carlisle)). The immediate affection that Mary and Peter have for each other is important to the plot. It's not just that she offers to give the couple one of her prized art works as a wedding gift. Peter is genuinely concerned at Mary's silence and it is his tenacity that brings the film to a satisfactory ending. 

As previously mentioned, the film returned to Broadway in 1940; appearing in the part of Ada was Dorothy McGuire in one of her earliest stage roles.  The 1951 film remake starred Ethel Barrymore and Maurice Evans as Mary and Abbott. The story also made its way to television on two occasions: Ford Theatre (December 1949) starred Fay Bainter and Joseph Schildkraut; and Broadway Television Theatre featured Sylvia Sidney (November 1953) (AFI catalog).

This is an excellent film - certainly worth your viewing. We hope at some point to catch (and discuss) the Ethel Barrymore remake. In the meantime, please consider seeking this one out.

Ronald is King

With Paris surrounded by the Burgundian army, the greater population is slowly starving. Not so the court, where King Louis XI (Basil Rathbone) has an enormous store of food laid in, and he is not sharing. François Villon (Ronald Colman), a poet and rapscallion, robs the King's storehouse of food, to sell to a local pub owner, Robin Turgis (Sidney Toler). Villon's partners in the venture want to kill the Guard of the storehouse (Barry Macollum), but Villon will not allow it; thus, when they are discovered, the Guard protects Villon. But the protection is only temporary - under torture, the Guard reveals the location of the gang's hangout. The King, in disguise, goes to the Fir Cone Tavern to watch the arrest, and overhears Villon boast of what he would do If I Were King (1938). Louis decides to make Villon his new Grand Constable, as the Count de Montcorbier. and gives him one week to solve the problems he bragged he could settle - after which, Louis will hang Villon.
 
The film is VERY loosely based on the life of the poet Francois Villon, probably best remembered today for the line "oh, where are the snows of yesteryear?" (from “La Ballade des dames du temps jadis”). The real Villon was constantly in trouble, was almost hanged, and was eventually banished from Paris. He had a tendency to get himself into fights; on at least one occasion, he killed his opponent (that his opponent was a priest probably didn't help matters any. However, friends and his adopted father - a lawyer - attested to the fact that Villon was attacked several times by said priest). Much of what is known about him is based on his poetry and on a few court documents.   For more information on Villon, visit The Poetry Foundation website.

Never mind that the truth of the narrative is a bit iffy, this is a wonderful film, with an engaging story and strong performances. The combination of Ronald Colman and Basil Rathbone is inspired casting; the way they bounce off one another is one of the highlights of the film, along with a terrific supporting cast, spectacular art design, and gorgeous costumes.

Colman gives a Robin Hood flavor to Villon, a man who starts off robbing from the rich to make himself rich, but who, when handed power, finds that his love of his countrymen is stronger than his love of himself. Even when he is seriously misbehaving, the twinkle in Mr. Colman's eyes makes you want to forgive this arrant rogue. He has many fine moments, but he is at his best when he is verbally dueling with Basil Rathbone.

Louis XI is often referred to as The Spider King, and Basil Rathbone takes the name seriously. He literally moves like a spider, as he portrays the devious nature of Louis. He takes genuine pleasure at watching a man being tortured. He chortles with delight at the thought of trapping the robbers in the pub. He eagerly anticipates the fun of tweaking the noses of his courtiers - and of Villon - by making Villon the new Grand Constable. We've never seen Rathbone give a bad performance. This is among his best. Colman was justifiably nominated for his second Academy Award for his performance (he lost to Walter Brennan in Kentucky. The other nominees were John Garfield in Four Daughters, Gene Lockhart in Algiers, and Robert Morley in Marie Antoinette).

Frances Dee is quite lovely as Katherine DeVaucelles, but it's Ellen Drew as Huguette who really should have stolen Villon's heart. Ms. Drew makes this little street urchin delightful and sympathetic. She is the only one who really seems to love Villon without question.  Ms. Drew's career began in 1936, and continued until her retirement in 1961. She spent her career primarily in B pictures; in the 1950s, she made the change to television. Married four times, she had two children. She died in 2003, at the age of 88. (The Guardian).

Henry Wilcoxon appears in the relatively small part of the Captain of the Watch. Though he's not given much to do, he makes the most of what he has, and is memorable in the film. A favorite of Cecil B. DeMille (he appeared in starring roles in both Cleopatra (1934) and The Crusades (1935)). By this point, he was appearing in secondary roles (Hardy in That Hamilton Woman) or B films (Woman Doctor). Like many others, he made the switch to television in the 1960s, but not before he produced several films with his mentor, DeMille. Married twice (with three children, one of whom was named after his best friend, Heather Angel; another was named Cecilia after Mr. DeMille) he died at age 78 in 1984.

The story was originally a play with E.H. Sothern in the lead. Later, it was a silent movie with John Barrymore (TCM article).  Lux Radio Theatre presented an adaptation with Douglas Fairbanks, Jr. and Frances Dee in October 1939. In the broadcast, host Cecil B. DeMille mentions that the story holds memories for him: he had appeared in the 1901 Broadway cast with his wife.

According to this AFI catalog article, "a replica of the throne of the Louvre Palace was made in cooperation with the French government." Needless to say, the set design is spectacular. Equally impressive are the costumes by Edith Head; whether she is dressing the commoners or the nobility, the costumes tell a story as well.

We'll leave you with this brief documentary on the making of the film. We heartily recommend that you give this one a try.

Dorothy Flirts

Celia Faraday (Dorothy Mackaill) has had it.  She's 26 and unmarried, and her younger sister Evelyn (Leila Hyams) is trying to set her up with a marriage to the idiotic Raleigh Raleigh (William Austin).  It seems their father Sir William Farady (Claude Gillingwater) will not permit Evelyn to marry until Celia is safely in wedded bliss.  Celia had already been forced to be the green stocking when her other younger sister married, and Sir William will not see it happen again - it's too embarrassing (for him).  Celia, on the other hand, could care less; she's not all that interested in marriage and doesn't care if her sisters want to have husbands.  So, she makes up a fiance who's been shipped to India.  But, when her sister steals and mails one of Celia's fake letters to her "beloved" Colonel John "Wabbles" Smith, the letter is delivered to the very puzzled Colonel John S. Smith (Basil Rathbone) in India, who determines to meet his unknown "lover". Thus begins The Flirting Widow (1930)

The beauty of this slight little film is the interplay between Basil Rathbone and Dorothy Mackaill.  Until he arrives at her doorstep, the film is rather banal, but once they begin to interact, the chemistry is palpable.  As always, Dorothy Mackaill is wonderful in the film; the addition of Rathbone gives her someone whom she can really bounce off.  Added to that, he is quite dashing and amusing as the bemused fiance of a woman he's never actually met. 

For a precode film, this one is rather tame.  My colleague at Pre-code.com points out a scene in which a watch gets dropped down Celia's front (with the very interested Colonel Smith watching her retrieve it. You can see a photo of the scene on his website, above).  There is also the character of Raleigh Raleigh - though not stated outright, the film hints that he is gay.  Aunt Ida's drunk scene also might give later censors a bit of a shudder (this is, after all, still the era of prohibition. Sure, it's set in England, but when would that stop a censor?)  But by and large, this is a subdued precode film, which just skirts around the borders of naughtiness.
We did find the character of Celia to be very interesting.  She has an almost masculine way about her when we first meet her - a severe slicked back hairstyle, a tie and sweater;  but later, once she's not being harassed to marry, her clothing and hair are soft and more traditionally feminine.  Much like the film Devotion, which we earlier discussed (and would be released the following year), this is a woman who is rather abused by a family that considers her to be more of a servant than a daughter or sister.  But Celia is released from her servitude by her declaration of an engagement.  Only as the appendage of  a man (even a fictitious one) is she permitted the independence she craves. 


In their review of the film, the New York Times also commented on the slight nature of the film.  However, they too agreed that the chemistry between Rathbone and Mackaill was outstanding.  Though not an earthshattering film, it's a pleasant enough way to spend 72 minutes, if only to see Dorothy Mackaill with an actor who is her equal.

 

Kay Tempts Basil

In A Notorious Affair (1930), Patricia Hanley (Billie Dove) defies her father, Sir Thomas Hanley (Montagu Love), and jilts her fiance  Dr. Alan Pomeroy (Kenneth Thompson), when she elopes with struggling violinist Paul Gherardi (Basil Rathbone).  Patricia happily gives up her privileged life to share Paul's poverty, and ultimately his success.  But with that success comes temptation, and Paul becomes involved with the sexually predatory Countess Olga Balakireff (Kay Francis), creating a scandal that involves both Paul and his betrayed wife.

Adapted from the play Fame (written by Audrey and Waverly Carter), the original play may have starred Gerald de Maurier (father of author Daphne.  This AFI Catalog talks briefly of the play's history).  Like many films of the early sound era, this movie suffers from the stagnation of the static camera and microphone.  Scenes that, a year or two later, would be full of movement and energy just sit there because the sound equipment forces the actors to stay stock still.  As a result, the film and the actors seem stiff and un-engaged.

All three of the leads, Francis, Rathbone, and Dove, had theatrical backgrounds.  Basil Rathbone was a veteran of both the London and Broadway stage, but was relatively new to film (he'd done 7 silent films and 3 talking films prior to A Notorious Affair).  Kay Francis had appeared in 4 Broadway plays, as well as 6 films.  Billie Dove, however, had made her career as a Ziegfeld Girl (billed as The American Beauty), not as an actress, though she had already appeared in many silent films and several talkies. (A TCM article about the film discusses the actors' backgrounds).

In spite of Basil Rathbone prior appearances in talkies, he seems rather uncomfortable in this film.  As we are used seeing him in roles in which he dominates the screen (a particular favorite is his turn as the roué in Confession, with his co-star here, Kay Francis), this Basil was a bit off-putting.  We talked about him in some detail in our discussion of his fantastic performance in The Mark of Zorro. 

But if anyone owns this movie it is Kay Francis.  Olga is quite the seductress, and with a sexual appetite that knows no bounds.  Ms. Francis' ability to telegraph her thoughts with only her eyes serve her in good stead here.  Watch her when she sees a stableboy entering a barn; we know exactly what is about to happen as she quietly enters the barn and shuts the door behind her.    Likewise, the look on her face when she first sees Paul - it's as though she is looking at a steak after a 30 day fast.  But Olga bores just as quickly as she hungers, and her relationship with Paul mirrors her tet-a-tet with the kennel man - once fed, she's done.  The New York Times review had it right when they say that "Kay Francis...as the scheming countess, puts Miss Dove somewhat in the shade."

While we can't wholeheartedly recommend A Notorious Affair as a film, for anyone who is a fan of Kay Francis, this is essential viewing.   Not only are you able to see her before she becomes the Warner Brothers cornerstone, you get to see her playing the kind character that wouldn't come her way for a number of years.

Back to Sherwood Forest

Some years ago, we discussed The Adventures of Robin Hood, but the opportunity to see it on a big screen (at the AFI Silver Anniversary Celebration) begs for revisiting the film via this blog.  Last time, we looked primarily at Olivia de Havilland; this time, we'll look a bit more closely at the wonderful character actors that grace this fantastic film.

That wonderful trio of villains, Prince John (Claude Rains), Guy of Gisborne (Basil Rathbone) and the Sheriff of Nottingham (Melville Cooper) are first on our agenda.  We were fascinated that Prince John never shows fear.  Even when Richard returns, there is not a line of apprehension on his face - John is much too busy perfecting his "spin" on his actions to worry about a little thing like death.  Rains plays John with the bravura of a man who knows he will ultimately be successful.  And of course, historically John survived his brother by many years, and ruled England after Richard's death.  Perhaps he was not England's most popular monarch - remember the Magna Carta - but his longevity (he ruled for 17 years) show he had nothing but time on his side.

On the other hand, the one character we expect to have a lot of nerve, Guy of Gisborne, does not.  Watch Rathbone's face throughout the movie. Gisborne is afraid.  And when he is captured by Robin Hood, he makes not a move to defend himself or Maid Marian.  He talks a good line, but the only time he really seems confident is when he confronts Lady Marian.  This Gisborne is a bully, pure and simple.  And not even a smart one.  Remember, it is the dim-bulb Sheriff of Nottingham who comes up with the plan to trap Robin, not Gisborne.  Then again, one gets the feeling that Gisborne would just be happier picking on women and unarmed peasants than confronting a talented swordsman.  Rathbone is so beautifully subtle in his portrayal that Gisborne's true character is just a hint rather than outright cringing.  Were he too obviously a coward, John's regard for him would be laughable.  This way, the audience understands Gisborne's nature.  John can only suspect (as he does when Gisborne and the Sheriff return from their forest meal with Robin), but it's not anything John can prove.

On the good guy side of the equation, we have the always wonderful Alan Hale as Little John.  With his hearty laugh and amiable manner, Hale is the perfect John Little.  His best (and most famous scene) is the "duel" with Robin on the tree bridge.  It's a thing of beauty to watch Little John take Robin down a peg.  Robin seems to always have this air of invincibility; Little John lets him know that even for the best fighter, there is always someone a little better.  

Similarly,  Eugene Pallette as Friar Tuck is another no-nonsense character, with nerves of steel. Overweight, years older, and a supposed man of peace, Friar Tuck confronts the Merry Men even when outnumbered, and fights boldly in all battles.  He has brains but is a compassionate man of the cloth.  Pallette, with his impressive voice and physique, make Tuck a memorable character.  

Finally, Una O'Connor as Bess, is another gutsy character.  Watch her in the ambush scene: her eyes fire when she believes her lady is in danger, and she is not afraid to verbally confront her attackers! Unlike Gisborne, she is more than willing to go toe-to-toe with any of Robin's men.  Yet, she is immediately attracted to Much (Herbert Mundin), and flirts with him like a teenager.  Her loyalty and devotion to Marian make her fearless; she risks all to save her lady, even when it is clear she will be killed if caught.  

I'll leave you with a trailer from the film.  Next time, we'll return to our usual discussion.

Connie Gets Married

Sin Takes a Holiday (1930), stars Constance Bennett as Sylvia, secretary to the wealthy Gaylord Stanton (Kenneth MacKenna).  Stanton has been seeing a married woman. He is perfectly satisfied with the situation, since he has no intention to marry, and Grace's (Rita La Roy) husband is not interested in a divorce.  But, to his surprise, Grace decides she is ready for husband #3, and intends to divorce her husband, with Stanton as corespondent.  To circumvent this (and continue his affair), Stanton convinces the shy Sylvia (who loves him) to marry him.  It will be a one-year (we assume he thinks he will be done with Grace by that time), marriage in name only, with Sylvia safely ensconced in Europe, and Stanton sewing his wild oats in New York.  However, complications ensue when Sylvia, while in Europe, meets Stanton's friend Durant (Basil Rathbone), who is quite impressed with the young woman, and determines to marry her himself.

In many respects, Sin Takes a Holiday is reminiscent of  Lady with a Past.  As in that film, Constance Bennett is considered plain and dull (hard to believe), and while abroad, develops the confidence to take control of her appearance and her life.  Of course, in this film, her "marriage" has given the bankroll to assist in the metamorphosis.  The major difference here is the motivating factor for the change.  While Venice in Lady with a Past decides to make a complete change in her image, Sylvia's emergence as a fascinating beauty occurs because of the attentions of Durant, the first man who has ever seen her as an attractive woman.

For those of us used to seeing Basil Rathbone playing a cad, Durant is a revelation.  When we first meet him at Stanton's house, he seems, to all intents and purposes, to be that bounder that Rathbone plays so well.  But Durant is actually a good man.  He loves Sylvia deeply; he is charming and kind.  And, unlike Stanton, he can see below the surface to the inner Sylvia.  Stanton never does, and we ended up rooting for Sylvia and Durant to end up as a couple.

We also enjoyed ZaSu Pitts as Syvia's roommate, Anna.  Having seen a bit of the silent film,  Greed a few days earlier, it is interesting to see change in her career in talkies.  She continued to work, even appearing in television shows (like The Gale Storm Show) until her death in 1963, usually (as she does in this film) as the best friend of the lead actress.   EliZa Susan Pitts also wrote a candy cookbook: Candy Hits by ZaSu Pitts - it seems she collected candy recipes!

We were less impressed with Kenneth MacKenna.  It didn't help that Stanton is such an unlikeable character, but MacKenna does not (in this film) have the dynamic screen personality of his foil, Rathbone.   MacKenna's career was relatively short, though he did return to films briefly in the early 1960s, playing one of the judges in Judgement at Nuremberg. In the early 1930s, he even played Bullldog Drummond (a role that would later be played by Ronald Colman and John Howard) in 1930's Temple Tower.  MacKenna died in 1962.

We really enjoyed this film.  The characters are well developed, the scenery and settings are lovely, and, as always, we have Bennett wearing some wonderful clothing.  In an article on the TCM website we find the following quote from Constance Bennett: "I'm a lot more sartorial than thespian. They come to see me and go out humming the costumes."  We disagree; while we love the costumes, we really left this film humming Constance Bennett.

Kay on Trial

There is no question that our group are big fans of Kay Francis.  But tonight's movie is probably (in our humble opinion) one of her finest performances.  It is Confession from 1937.  The action opens on a young music student, Lisa Koslov (Jane Bryan) being approached after a recital by the renowned musician Michael Michailow (Basil Rathbone).  Complimented, Lisa finally agrees to meet him; they go to a nightclub where Vera (Kay Francis) is the lead singer.  She sees Michael and Lisa. Michael sees her.  He attempts to leave the nightclub, only to have Vera follow him and shoot him dead. The rest of the movie is Vera's trial, and the story of her life, which will clarify WHY she killed Michael.

Francis is amazing here.  We see her (as we did in The House on 56th Street) in many phases of her life.  That she makes errors is clear; that she was wronged is also clear.  But, cut to her at the beginning of her trial, the utter blankness of her expression, followed by the panic when she realizes that her attorney is going to tell her story without her permission.  This is great acting.  

It's also fun to again see Basil Rathbone, who really did spend half his career playing villains, as the bad guy once again.  He oozes insincerity.  WE know what he is after.  Unfortunately, Lisa (Jane Bryan, who does an excellent job playing a naive young woman) has not got a clue that men like him exist. 

It's interesting that this film was actually a shot-by-shot remake of a German film (with an American cast, of course). Regardless of the fact that this film is borrowing heavily, the performances make it a new film. We'll close with the scene where he makes his play for his latest innocent victim:

Double-0 Joan

We were able to get a copy of Above Suspicion when it last aired on TCM, much to our delight.  The advertisements which aired on TCM made the film seem to be a much more tongue-in-cheek story than we would have expected from a World War II vintage (1943) film, and while there are some moments that are humorous, on the whole, this movie very much reminded us of The Man from U.N.C.L.E. (plug for my favorite TV show), it had those same elements of seriousness that one expects from good spy story, combined with humor. Here, we have a pair of innocents, newlyweds Frances and Richard Myles (Joan Crawford and Fred MacMurray), who are recruited to locate a scientist with essential war related information.  Because they are Americans, and because they are on their honeymoon, it is believed that they are "above suspicion".  Of course, they are not, and rather rapidly they come under the eye of Count Sig von Aschenhausen (Basil Rathbone), a former classmates of Richard's who is deeply involved with the Gestapo.

There are a number of nice touches in this movie. The introduction of the character of Thornley (Bruce Lester), who also came to Germany to assist the English, and who also was considered "above suspicion", much to his sorrow makes a nice counterpoint to our couple.  Also, it was wonderful to see that excellent actor Conrad Veidt as Hassert Seidel, who is working AGAINST the Nazis.  Veidt escaped from the Nazis, yet spent most of his years in Hollywood playing rather horrid Nazis. Robert Osborne, in his introduction, reminded us that this was Veidt's last movie - he died a short time later from a massive coronary - a great loss to film. 

This was also Joan Crawford's final MGM film (and her only film with MacMurray).  She is really delightful in it.  And the ending, in which she has to assume a disguise in order to escape from he Nazis, is wonderful.  She really is convincing in her costume!  Add to all this excellent performances by Fred MacMurray and Basil Rathbone, and this is certainly a movie that is worth your time.  It was our belief that the film did not do especially well in 1943 - a shame, because it is certainly a film that keeps you interested. A truly neglected little gem.  We found a trailer for you to look at: